{"product_id":"takatori-ware-faceted-matcha-bowl-by-takatori-shinobu-enshu-konomi-mentori-chawan-with-original-signed-box","title":"Takatori Ware Faceted Matcha Bowl by Takatori Shinobu — Enshu Konomi Mentori Chawan with Original Signed Box","description":"Experience Authentic Japan Art with this Takatori Ware Matcha Bowl. This Enshu Konomi Chawan serves as a Japanese Tea Ceremony Bowl and Handmade Ceramic Tea Bowl, featuring Flowing Amber Green Glaze and Faceted Mentori Form—a must-have for any Art Collector seeking Vintage Japanese Pottery, Wabi-Sabi Aesthetic Tea Bowl, and Traditional Fukuoka Kiln Stoneware.\u003cbr\u003e\u003cbr\u003e🔹 [ BASIC DETAILS ]\u003cbr\u003e• Artist: Takatori Shinobu (高取忍) — contemporary master of Takatori ware, Fukuoka\u003cbr\u003e• Technique: Mentori (面取, faceted hand-shaping) with amber-and-blue flowing glaze (nagare-yu); wood-fired stoneware\u003cbr\u003e• Era: Post-2007, contemporary production\u003cbr\u003e• Origin: Takatori ware (高取焼), Fukuoka Prefecture, Kyushu — one of the Enshu Shichigama (遠州七窯), the Seven Kilns of Lord Enshu\u003cbr\u003e• Dimensions: Diameter approx. 12 cm, Height approx. 8 cm\u003cbr\u003e• Box: Original signed wooden tomobako (共箱); lid inscribed 「遠州好 高取面取茶碗 高取忍作」with artist seal\u003cbr\u003e• Condition: Excellent — no cracks, no chips, no repairs\u003cbr\u003e\u003cbr\u003e🔹 [ CULTURAL \u0026amp; ARTISTIC INSIGHT ]\u003cbr\u003eThe glaze that moves across this bowl is not decoration — it is time made visible. From the warm amber-gold pooling at the rim, through a band of russet-violet where iron and wood-ash interact in the firing, down to the deep sage-green and oceanic blue-grey that settle at the base: each color arrived uninvited, coaxed by temperature and flame rather than the potter's hand. This is the living grammar of Takatori ware, unchanged since the kiln was established in the early Edo period under the patronage of Kobori Enshu (小堀遠州), the tea master and arbiter of daimyo taste whose aesthetic ideal — kirei-sabi (綺麗寂び), a beauty that is both luminous and quietly melancholy — shaped this entire tradition.\u003cbr\u003e\u003cbr\u003eThe mentori (面取) faceting introduces a subtle geometry to an otherwise organic form. The flat planes catch light differently at each angle, giving the bowl a meditative dynamism as it rotates in the hand during the tea ceremony. This is not decoration for its own sake but a formal vocabulary rooted in the handling ritual of temae.\u003cbr\u003e\u003cbr\u003eThe foot ring is clean, small, and unglazed — a patch of raw pale stoneware clay that grounds the bowl's exuberance, a reminder that beauty in the chawan tradition never fully abandons the earth.\u003cbr\u003e\u003cbr\u003ePOETIC LINE: \"Amber pools to green as summer fades to autumn — the glaze does not choose its season, and neither does wabi.\"\u003cbr\u003e\u003cbr\u003e🔹 [ DEEP-DIVE COMMENTARY ]\u003cbr\u003eTakatori ware (高取焼) was founded in the early seventeenth century by Korean potters brought to Fukuoka domain during the aftermath of Toyotomi Hideyoshi's Korean campaigns. The kiln quickly came under the direct patronage of Kobori Enshu, whose aesthetic preferences — light forms, restrained elegance, glazes that drift and settle like weather — became defining characteristics of the tradition. Takatori is counted among the Enshu Shichigama, the Seven Kilns selected by Enshu as exemplars of his vision of kirei-sabi, and this lineage continues to define the kiln's identity today.\u003cbr\u003e\u003cbr\u003eThe signature glaze effect visible on this bowl — an amber or caramel-brown (ame-yu, 飴釉) at the upper register bleeding through violet and russet into a sage-blue-green (ao-yu, 青釉) below — is achieved through the layering of two or more glaze types and a single wood-firing in an anagama or noborigama kiln. The vertical flow of the glaze is controlled by application thickness and kiln atmosphere rather than precise chemical formulation. Each firing produces genuinely unrepeatable results; this is not a flaw but the proof of authenticity that connoisseurs seek.\u003cbr\u003e\u003cbr\u003eThe mentori (面取) technique involves cutting flat facets into the leather-hard clay body before the final drying stage. In this bowl the facets are subtle — more a softening of the cylinder into a gentle polygon than a sharp-edged geometric form — which gives the piece a contemplative rather than architectural character. During temae (tea ceremony procedure), the bowl is held and rotated; the facets register as changes in grip pressure, creating a tactile conversation between user and object that a perfectly round bowl cannot offer.\u003cbr\u003e\u003cbr\u003eFor the collector, what this bowl represents is a direct continuation of a four-hundred-year lineage of Enshu-aesthetic ceramics, documented through the tomobako with its formal inscription and artist seal. The box confirms attribution unambiguously — a critical consideration for pieces where glazed surfaces alone cannot distinguish generations of Takatori potters. Takatori Shinobu works within the classical tradition while maintaining the freedom of a contemporary master: the result is a bowl that would be at home in both an active tea practice and a serious ceramics collection.\u003cbr\u003e\u003cbr\u003e🔹 [ 日本語解説 ]\u003cbr\u003e【基本情報】\u003cbr\u003e• 作家: 高取忍（福岡県、高取焼）\u003cbr\u003e• 技法: 面取り成形、飴釉・青釉の流し掛け、薪窯焼成\u003cbr\u003e• 年代: 2007年以降の現代作品\u003cbr\u003e• 産地: 高取焼（福岡県）— 遠州七窯の一\u003cbr\u003e• 寸法: 直径約12cm、高さ約8cm\u003cbr\u003e• 箱: 共箱（蓋表に「遠州好 高取面取茶碗 高取忍作」の箱書・落款印）\u003cbr\u003e• 状態: 美品。ヒビ・カケ・金継ぎ等の修復なし\u003cbr\u003e\u003cbr\u003e【文化的・芸術的考察】\u003cbr\u003e口縁に溜まる飴色の釉が、鉄分と木灰の化学反応を経て、胴部では赤みを帯びた紫に変じ、さらに腰から高台にかけて深い青緑へと流れ落ちる。この色の移ろいは、施釉の意図ではなく炎と温度の対話が生み出した偶然の景色であり、高取焼が遠州七窯に選ばれた理由そのものを体現している。小堀遠州が好んだ「綺麗寂び」の美学——艶やかでありながら静謐な悲しみを帯びた美——がこの茶碗一点に凝縮されている。\u003cbr\u003e\u003cbr\u003e面取りによって生まれた微細な稜線は、光の当たり方によって表情を変え、手に持つたびに異なる触感を与える。これは単なる装飾ではなく、点前の所作と呼応するための造形的語彙であり、使うことで初めて完成する器の哲学を示している。\u003cbr\u003e\u003cbr\u003e高台は小ぶりで素地の白い陶土がそのまま露出し、釉薬の华やかさを大地の土気で静かに引き締めている。\u003cbr\u003e\u003cbr\u003e【詳細解説】\u003cbr\u003e高取焼は江戸時代初期、豊臣秀吉の朝鮮出兵に際して招来された朝鮮人陶工によって福岡藩内に開かれた。その後、茶人・小堀遠州の指導のもとで遠州七窯の一つに数えられ、「綺麗寂び」を体現する茶陶の窯として確立された。この歴史的系譜は現代に至るまで継承されており、本作品もその伝統の正嫡に位置する。\u003cbr\u003e\u003cbr\u003e飴釉と青釉の重ね掛けは、薪窯（穴窯または登り窯）での焼成中に釉薬が縦方向へ流動することで生じる。施釉の厚みと窯内の雰囲気（酸化・還元）が最終的な景色を左右するが、その結果は毎回異なり、完全に同一の作品は二度と生まれない。この不可再現性こそが、鑑賞者とコレクターが高取焼に求めるものの本質である。\u003cbr\u003e\u003cbr\u003e面取りは、生乾きの粘土を削ることで施される。本作では稜線は穏やかで、幾何学的な緊張感よりも柔らかな変化として現れており、点前における手のひらへの語りかけを優先した造形といえる。点前中に茶碗を回す動作のたびに、微細な角度の変化が手に伝わり、茶碗との対話が生まれる。\u003cbr\u003e\u003cbr\u003e収蔵・研究の観点からは、共箱と箱書が作品の帰属を明確に証明する重要な付属物となる。「遠州好 高取面取茶碗」の箱書は、この作品が単なる高取焼の茶碗ではなく遠州好みの形式に則って制作されたことを示し、茶道史上の意義を格段に高めている。\u003cbr\u003e\u003cbr\u003e🔹 [ SHIPPING \u0026amp; PACKAGING ]\u003cbr\u003e• Dispatch: Within 1-6 business days\u003cbr\u003e• Carrier: Japan Post EMS \/ UPS (with tracking)\u003cbr\u003e• Packaging: Carefully wrapped with protective materials","brand":"The Modern Zen Archive","offers":[{"title":"Default Title","offer_id":61954426700146,"sku":"260618_a_2992","price":769.0,"currency_code":"AED","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0960\/5680\/3698\/files\/m74304389283_1.jpg?v=1781796972","url":"https:\/\/checkout.themodernzenarchive.com\/products\/takatori-ware-faceted-matcha-bowl-by-takatori-shinobu-enshu-konomi-mentori-chawan-with-original-signed-box","provider":"The Modern Zen Archive","version":"1.0","type":"link"}